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GMU:Winning natural habitats/Martha Steinmetz (view source)
Revision as of 11:13, 16 March 2025
, 16 MarchIntegrating Project development + Future prospects
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Learning the Grammar of Animacy (inspired by Kimmerer)<ref>Robin Wall Kimmerer, The Democracy of Species</ref> | == Learning the Grammar of Animacy (inspired by Kimmerer)<ref>Robin Wall Kimmerer, The Democracy of Species</ref> == | ||
<blockquote>''<nowiki>''</nowiki>I come here to listen, to nestle in the curve of the roots in a soft hollow of pine needles, to lean my bones against the column of white pine, to turn off the voice in my head until I can hear the voices outside it: the 'shhh' of wind in needles, water trickling over rock, nuthatch tapping, chipmunks digging, beechnut falling, mosquito in my ear, and something more - something that is not me, for which we have no language , the wordless being of others in which we have no language, the wordless being of others in which we are never alone.'' | <blockquote>''<nowiki>''</nowiki>I come here to listen, to nestle in the curve of the roots in a soft hollow of pine needles, to lean my bones against the column of white pine, to turn off the voice in my head until I can hear the voices outside it: the 'shhh' of wind in needles, water trickling over rock, nuthatch tapping, chipmunks digging, beechnut falling, mosquito in my ear, and something more - something that is not me, for which we have no language , the wordless being of others in which we have no language, the wordless being of others in which we are never alone.'' | ||
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== Exercise 1 == | == Exercise 1 == | ||
The process begins with a focus on internal visualization and exploratory sketches, encouraging you to translate what you hear into a visual format. This method invites a deeper engagement with sound, elevating listening from a passive act to an active, multi-sensory experience. | The process begins with a focus on internal visualization and exploratory sketches, encouraging you to translate what you hear into a '''visual format'''. This method invites a deeper engagement with sound, elevating listening from a passive act to an active, multi-sensory experience. | ||
Find a place where you can fully engage your senses— step outside your room if you’d like. Spend some time listening closely to the movement of sounds in your environment. | Find a place where you can fully engage your senses— step outside your room if you’d like. Spend some time listening closely to the movement of sounds in your environment. | ||
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== Exercise 2 == | == Exercise 2 == | ||
The second step involves reconnecting with | The second step involves '''reconnecting with auditory experiences through language'''. By using familiar words and descriptive phrases, you may gain a deeper understanding of the soundscape while framing it within the context of your own linguistic and cultural background. This phase helps to bridge the gap between abstract auditory sensations and the structured world of verbal expression. | ||
Language as a reflection of your soundscape: Use several words to describe a sound from your environment (e.g., gurgling, splashing, bubbling, ...). | Language as a reflection of your soundscape: Use several words to describe a sound from your environment (e.g., gurgling, splashing, bubbling, ...). | ||
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== Exercise 3 == | == Exercise 3 == | ||
In the final phase, we move beyond conventional boundaries, venturing into uncharted territory by creating entirely new words to describe the sounds we perceive. You are encouraged to place these unique terms freely and creatively on the page, breaking away from the constraints of traditional grammar or format. This stage fosters a playful and imaginative relationship with sound, allowing for a more personal and expressive connection to the auditory environment. | In the final phase, we move beyond conventional boundaries, venturing into uncharted territory by creating entirely new words to '''describe the sounds we perceive'''. You are encouraged to place these unique terms freely and creatively on the page, breaking away from the constraints of traditional grammar or format. This stage fosters a playful and imaginative relationship with sound, allowing for a more personal and expressive connection to the auditory environment. | ||
Find onomatopoeic words for sounds like raindrops, streams, waterfalls, rivers, or ocean waves, for example: ''clasticy-shash, geeshian, retzensplats, gurglewoo, plittertonk, blibliboop, hwoosh, piddlip, splish, spankle-spickle, pli-pli...'' | Find onomatopoeic words for sounds like raindrops, streams, waterfalls, rivers, or ocean waves, for example: ''clasticy-shash, geeshian, retzensplats, gurglewoo, plittertonk, blibliboop, hwoosh, piddlip, splish, spankle-spickle, pli-pli...'' | ||
Invent one unique onomatopoeic word for each sound you hear. | Invent one unique onomatopoeic word for each sound you hear. | ||
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== Project development == | == Project development == | ||
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Reading ''Gathering Moss'' by Robin Wall Kimmerer, a recommended text from the course, deepened my understanding of how language shapes our perception of nature. Kimmerer uses the world of mosses to illustrate that even the smallest microorganisms are active participants in our ecosystems, just like forests and entire biomes - all shaped by the same environmental factors. I found a certain, powerful poetry in the way small-scale phenomena can be translated into a broader context and vice versa. | Reading ''Gathering Moss'' by Robin Wall Kimmerer, a recommended text from the course, deepened my understanding of how language shapes our perception of nature. Kimmerer uses the world of mosses to illustrate that even the smallest microorganisms are active participants in our ecosystems, just like forests and entire biomes - all shaped by the same environmental factors. I found a certain, powerful poetry in the way small-scale phenomena can be translated into a broader context and vice versa. | ||
With my work for our ''Winning Natural Habitats'' course, I particularly want to rediscover and explore the act of listening together. Listening enables us to attune to aspects of nature that reveal themselves through our most sensitive sense, yet often go unnoticed when we rely primarily on sight or movement, such as during a walk. | '''With my work for our ''Winning Natural Habitats'' course, I particularly want to rediscover and explore the act of listening together.''' Listening enables us to attune to aspects of nature that reveal themselves through our most sensitive sense, yet often go unnoticed when we rely primarily on sight or movement, such as during a walk. | ||
I have come to the conclusion that an analog approach - pen and paper - preserves the essence of this experience best, as it avoids distorting it through my own artistic interpretation or technological manipulation. | I have come to the conclusion that an analog approach - pen and paper - preserves the essence of this experience best, as it avoids distorting it through my own artistic interpretation or technological manipulation. | ||
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This course has reinforced my belief that when working with environmentally and politically rooted topics, it is crucial to first gather data before incorporating technological enhancements. This approach ensures that installations remain meaningful rather than purely aesthetic without substance. I am grateful for this insight. | This course has reinforced my belief that when working with environmentally and politically rooted topics, it is crucial to first gather data before incorporating technological enhancements. This approach ensures that installations remain meaningful rather than purely aesthetic without substance. I am grateful for this insight. | ||
== References == | == References == | ||